MoKS 2014 Yearbook : a chronicle of artistic and public events

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M KS Yearbook 2014

Midsummer night land- and lightscapes | photo: Kaia Otstak

- Zelgis Wondering, Platons Buravickis, Krišjanis , | photo: John Grzinich ,

contents MoKS INFO / 3/ SUMMARY: Activities and programmes listed / 3/ AIR: summary / 4/ Axis of Praxis residencies / 4/ Andrew Gryf Patterson / 5/ Kimmo Modig / 6/ Kaspars Lielgalvis / 7/ Jaana Kokko / 8/ Open Studio residencies / 9/ Ulla Saar / 9/ Martina Kartelo / 10/ Maja Klaric / 11/ Anna and Emma F채lt / 12/ Arlene Tucker / 13/ Anna-Maria Rockwell / 14/ Nicola Casetta / 15/ Geoff Robinson / 16/ Alice Pamuk / 17/ Argo Vals / 18/ Basil AlZeri / 19/ Exhibition production residencies / 20/ Joonmeedia / 20/ Kaia Otstak / 21/ Kadri Toom / 22/ Maksims Shentelevs and Jekabs Niemanis / 23/ Exchange with FKSE Budapest / 24/ Kitti Gosztola / 24/ Exchange with Cavan Arts Council: Maria Kerin, Ross Cochrane, Michael Holly, Alan Burns / 25/ Alumni return and rental residencies: Mike Hentz / 26/ Gallery / 27/ Education: Workshops, Artists to Schools / 28/ AVAMAA: Economies of Survival / 29, 30/ Events: MoKS meetings, Community events / 31, 32/ Budget / 33/ Timeline / 34/ Final page: Sponsor logos, credits / 35/

MoKS info MoKS, art and culture lab Mooste m천isa valitsejamaja Mooste 64616, P천lva maakond Estonia

MoKS | photo: John Grzinich

summary Activities and programmes listed 2014 marked 14 years of continuous activity for MoKS as an international artist in residence center and project space for workshops, exhibitions, artist talks, film screenings, community events and more. Many events extended outward into Tartu, and the neighbouring communities surrounding Mooste. The diversity and quality of our programming and activities not only makes MoKS unique in Estonia but also in the wider European context. Each year, artists travel from all areas of the world to develop and share their artistic visions specifically in our small corner of rural Estonia. A short overview of our 2014 activities includes: Artist- in- residence programme (34 artists for longer and shorter stays, from 14 countries) | Gallery (7 exhibitions / approx 500 visitors) | Educational activities: Artists to Schools visits (11 visits), student summer practice, workshops | AVAMAA summer symposium: Economies of survival | Event series: MoKS meetings (6x), CineMoKS (), Foodclub (4x)


Artist in Residence programme AIR @ MoKS in 2014 were:

5 programmes were open for artists to apply: Axis of Praxis in cooperation with Ptarmigan Tallinn | Open Studio Exhibition production residencies | Exhibition production residencies | Exchange with FKSE Budapest 1 month of free studio and accommodation, artist stipend and travel costs covered by Amadeus Foundation | Exchange with Cavan Arts Council 2 week, accommodation, travel costs and artist stipends covered by Cavan Arts Council (4 artists) Besides MoKS offered for its former AIRs possibility for return visit (1 artist) and residency rental facilities (1 artist).

Emma Fält, ink drawing | photo: John Grzinich


In 2014 MoKS hosted all together 34 artists from various disciplines. 15 artists stayed in long-term (1-2 months) and 19 artists in shorter-term (1-3 weeks) residencies. 4 studios were for artist use. Artists came from following countries: Estonia (7), Finland (6 artists), Latvia (6), Ireland (4), Croatia (2), Belgium (1), Canada (1), Sweden (1), USA (1), Italy (1), Australia (1), Netherlands (1), Switzerland (1), Hungary (1).

Andrew Gryf Paterson, Tanel Rannala ja Siiri Taimla (Joonmeedia), Ulla Saar, Martina Kartelo, Maja Klaric, Kaia Otstak, Anna ja Emma Fält, Kadri Toom, Arlene Tucker, Maksims Shentelevs, Jekabs Nimanis, Anna Maria Rockwell, Nicola Casetta, Ari Taskinen, Maria Kerin, Michael Holly, Alan Burns, Ross Cochrane, Geoff Robinson, Alice Pamuk, Kimmo Modig, Kaspars Lielgalvis, Edd Schouten, Platons - Zelgis, Buravickis, Laura Prikule, Krišjanis , Kaspar Aus (Totaltobze), Mike Hentz, Jaana Kokko, Kitti Gosztola, Argo Vals, Basil AlZeri

AXIS OF PRAXIS residencies The Axis of Praxis residency programme offered possibility to research and develop work in and between two distinctly different contexts within Estonia, between MoKS (located in a village in rural south Estonia) and Ptarmigan (in the capital city of Tallinn). Although both cultural centres operate in contrasting environments, we share an interest in exploring and engaging with the places and communities that surround us. Axis of Praxis is a residency opportunity aimed at utilising these similarities and distinctions, as well as helping to build connections between the two organisations. Artists, organisers, curators and researchers of all artistic and creative disciplines from Nordic- Baltic region were eligible to appy. This was two month split residency: one month in MoKS, one month in Ptarmigan. Residencies were Funded by Kulturkontakt Nord, support module for Artist- in- Residency Centers. Artists received free studio and accommodation, stipend 700â‚Ź per month and travel costs covered. MoKS offered 4 residencies.


The Axis of Praxis residency in January & February 2014 offered an opportunity to research and develop work in and between two distinctly different contexts with Estonia, Ptarmigan in Tallinn, and MoKS in Mooste, a village in the rural south. I used the occasion to work outside the usual work-life routine, work on documentation of past projects, and offered to contribute to the Axis of Praxis programme was a dinner event in each location. Consider the mathematical metaphor of an axis being a vector, charting a trajectory through space-time, around which fixed subjects and objects rotate. In reflection, there were several axis in consideration during my residency periods in Tallinn and Mooste: Family (support), documentation (of experience), and Manor (neighbourhood activism). These were combined in the community of people around a person and an organisation that gathers around a dinner event; And in relation to doumentation: the distance in time from the point now, and the experience of something that happened together. The period of residence in Mooste raised understanding of the situation for creative parents & children as residents. Together with MoKS and fellow AIRs, we discussed the value of exploring and researching more family-friendly creative residency formats. For individuals in a family there can be the difficulty to get time and space out of usual routines of work and home life. Concurrent AIRs at MoKS Joonmeedia (Tanel & Siiri, who had brought their two young children along) we developed an imagination of a group (or curated) residency where 3-4 families occupied the same residency centre at the same time. In this way, the times of the day for play, rotated child-care and focused work could be arranged, while evenings of regular meeting also brought together the parents and kids into one space, suggesting collective viewing or listening, or even shared game play. Turning round the axis, not all things may go to plan. In my case, a series of health issues in family members at home meant that all plans to share time away were cancelled, and remotely it was hard to feel good about the time and freedom gained.

Andrew Patterson hosting communal dinner at MoKS | photo: John Grzinich

The residency experience at MoKS in Mooste, also raised interest in developing neighbourhood connections between my own neighbourhood suburb in Helsinki, Malminkartano, and village of Mooste where MoKS is located. Both locations­- the suburb and the village - are historically based upon historical Manor complexes. In the case of Malminkartano, the orginal manor no longer exists, but in Mooste many of the buildings are the focal point of a cultural heritage development. The second Axis of Praxis dinner event at Mooste was made at a prosponed date in Spring (19th April), The focus of Manor neighbourhood activism included inviting Jaana Löppönen, director of Horisontti Community Centre in Malminkartano, to tell about her neighbourhood activism of 20 years, as a way to imagine a bond and cultural exchange between the two locations. With Eero YliVakkuri via Skype we introduced a 'makers' residency programme for Malminkartano.

Andrew Gryf Paterson

Furthermore as a result of the residency in Mooste, further collaborations were planned with MoKS, within the context of a Nordic Nordplus Horizontal learning plaftorm application titled 'Living Cultural Heritage Learning by Making', which included Horisontti, Finnish Open Knowledge Foundation, Pixelache and SERDE.

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Kimmo Modig, posing with silo and concert hall in the back | photo: Kimmo Modig

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Kimmo Modig


I stayed in Moks for one month, September 2014. During this time, I worked on my upcoming performance Court of Helberg, which will premiere on 11th of November, 2014, in Baltic Circle international theatre festival. For this purpose, Moks was perfect, as I had a quiet studio space for myself which was great for both writing and physically rehearsing the performance. The performance: Additionally, I participated in an artist talk in Tartu, organized by Moks staff, and give a talk on my own in Eesti Rahva Muuseum, as part of a local event series concentrating on sound art. Such talks are viable parts of a residency and it made sense for me, as well.Â

I would and have recommended Moks to my colleagues. The residency is well run space with lots of possibilities - most of which I unfortunately didn't tap into, as my activities were of solitary nature. It's easy to travel to nearby cities from Mooste, which gives the resident guest the chance to explore, network, come up with different projects, and so forth. For me, this meant a chance to visit some cultural events in Tartu and meet local artists there. Furthermore, it's stimulating to have other artists sharing the kitchen and the house with you. Most of my evening were spent having inspiring talks with fellow artists. Personally, I could've digged into Mooste much more, but for the time being I was quite tied with the work I had in planning.



I also participated in "I, Consumer. Shopping, the Climate and Us." symposium in Riga during my residency. This was a real highlight, as the symposium was a workshop-based meeting of people with curiously varying backgrounds (economists, researchers, artists, designers), all of whom were invited to discuss an ecological, post-consumerist future. This trip informed my writing for an article published by DIS magazine (

All in all, I was extremely happy with my residency period. As someone who has ran a residency (as part of an art gallery in Turku, Finland), I can surely appreciate such a place and the feeling of smoothness and openness it comes with.


Kaspars Lielgalvis Kaspars Lielgalvis is an artist who works throughout the culture field, with interests including urban development, interdisciplinarity in contemporary art and the creation of self-organized structures. Since 2009 Kaspars has been busy with the development of the Totaldobže Art Centre which has became an important platform for cross-over creation and meetings between artists, poets, musicians, dancers and representatives from other culture disciplines in Riga, Latvia.

I decided to organise in MoKS one of the events from the other very important project of the Totaldobže Art centre - Black Holes. The Black Holes collaborative workshop at MoKS took place from October 6-25th. Participants included contemporary dance artist Kaspar Aus (EE), music composer Platon Buravicky (LV), visual artist Laura Prikule (LV), interdisciplinary choreographer - Zelgis Edward Schouten (NL) and poet Krišjanis , (LV). Artists collaborated during a three week process which was often inspired by an investigation around scores and scoring. ,

- Zelgis Score by Edward Schouten and Krišjanis ,



The workshop was supported by the Latvian Culture Capital Foundation, The Embassy of The Netherlands in Latvia, Kulturkontakt Nord (Nordic-Baltic mobility program, support for artist residencies) and Estonian Cultural Endowment. part of different programs in different countries. During my stay in MoKS I conducted research on the Estonian art scene to chose the possible Estonian candidates to be included in the project. The residency was especially useful for me because I met and got to know some Estonian artists and researchers there who helped me a lot with finding contacts in Tallinn and with the Estonian Art Museum.The project is commissioned by Checkpoint Helsinki and will be realized in their program at the Helsinki City Festival in August 2014.

The Black Holes residents realized quite quickly that producing scores could be an effective way to a shared collaborative means of communication and it became intrinsic to their investigation. In a group of diverse backgrounds scoring made it possible to express personal practice and creativity while simultaneously reacting to that of the others. It provided just enough of a framework to allow for organic exploration and exchange. Some scores proved fundamental to the activities of the workshop period while others were brief sketches activating new avenues for consideration. Working with scores opened up a multitude of possibilities and the experience of the residents was that just about everything could be interpreted as a potential score and therefor a catalyst for continued exploration. Consequently it created space for a more unconventional consideration of what an artistic medium could be; what constitutes an audience; and what duration a work might exist for


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My work is always based on research. I very seldom do produce anything artistic that I don't plan first. I need quite a lot of time to digest social and emotional environments and to transform some thoughts and experiences of them to an art work that seems important enough to make it public. In a residency I make notes, read, draw and think. I try to understand what I sense and feel in the new environment and try to understand this incoming information. I try to follow the path to where these feelings lead me stepby-step when they are coming understandable. I kind of organize the information to different paths. Some of these paths I continue working with.

In the Moks residency I did work with these three topics. First, I worked to understand the social process in Setu peoples choir singing and the role and content of autobiografical improvisations. Second, I started to work for a piece of situational art work for an exhibition in Tartu in November 2015. For this I visited in the art museum of Tartu and was exploring some of the surroundings in Tartu by bus and feet. Third, In the rural environment I was able to change my daily routines to get rid of unnecessary things and to to update the importance of the quality of life.


Jaana Kokko

What I called "researching" in the beginning is that I try to stick in to the most important moments that I do found in the social, emotional and environmental surroundings and I continue from that what I find with visual thinking. I don't know where these paths do end because I don't make any assumptions in forhand. It can also be that I do not do any conclusion, so called end. This is how I worked in Moks. During my stay I did not produce anything as an artist, if you don't count thinking. But on the other hand, I started several processes and thinking is already a second step in producing an art work for me. I was interested in coming to Moks residency for three different reasons: to get familiar with the Setu culture and to understand some of the similarities with the Carelian culture (where I come from). To work with a project to Tartu Art Museum. To update my understanding between the urban and rural, the pure and the polluted, peace and hurry.


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Jaana Kokko giving a workshop at Kanepi High School (Artists to Schools) | photo: Evelyn Grzinich

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Open Studio residencies are for artists and researchers from all over the world. 11 residencies for artists from various disciplines were offered for 1-2 months. 6 artists received monthly grant 500â‚Ź + free studio and accommodation, 5 artists received free studio and accommodation. Artist stipends were provided by Estonian Ministry of Culture.

photo: John Grzinich

open studio

Ulla Saar

Things that happened during my short stay in Mooste in February 2014 were: Light. Light travels differently when you have a peace of mind. I had a peace of mind. Paper. I used a lot of paper during that time. We had to go and get some more from Põlva. Ink. I used ink to tell stories about Catholic saints and about their confusion about the modern society. Silence. It can be almost scarlingly comforting if you can actually sit and work in hours in a row without any interruption. Connection. I built up a connection in a few days with the house, the surroundings and the people. I'm very thankful for all the things above.


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Projects and ideas I have in mind seem to take their own direction, start to lead somewhere else. Is it the wrong or right direction? Is it wrong just because it wasn't what I planned? I wanted my ideas to follow where I lead them while in fact I should follow them, see where they take me. it takes far more courage, far more openness and spontaneity. Am I preconditioned to function only within what I have preconcieved or can I be adapted? Is it even possible to escape our former way of thinking and change it totally? Also at the end this project turned out to be about being accepted inside one formed and closed community on their terms and trying to be integrated inside what was pretty difficult for this particular artist. At the end it turned out it is part of universal experience of every human being everywhere in the world probably at the moment, to be part of group/community. And what happens if individual just doesnt fit inside, if he/she for different reasons doesnt get inside no matter what he/she does.Is the leaving the place the only option or there is something else possible, which is not too uncomfortable for individual? How about others who are in same situation and feel more adapted, should one accept their ways/approaches? Or they wouldnt fit on somebody else who didnt get them naturally? As I have met some people/artists who decided to stay in particular place like Mooste or Tartu and seemed to be quite adapted and happy. Metaphor of smaller village actually can be showing of bigger picture or not? Do we see ourselves clearer inside of our own nation/ community/society or we become more clearer once we leave our local nest?



Martina Kartelo workshop with Mooste Folk Music School | photo: John Grzinich


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Invited by Evelyn and John, the hosts of the residency, as well as Martina Kartelo, a theatre actress who shared the information with me, I spent one month in Mooste as MOKS' artist-in-residence. I was informed that the ongoing topic was that of "food and land", thus I tried to combine my own work with the given topic. Luckily, approximately twice a month MOKS organizes Food Club meeting which gave me an idea of how to prepare my own "literary meal". I spent a certain amount of time during the residency investigating famous works : Tasting the Plots works of literature in which food had played a crucial role in the plot. The event was called "Food in Literature: Tasting the Plot" and it was a part of Open Door Day in MOKS that took place on May 1st. We prepared tea cookies in different shapes from Lewis Carroll's Alice in Wonderland ("A Mad Tea Party"), Madeleine cookies from Marcel Proust's In Search of Lost Time and apple pie with ice cream from Jack Kerouac's On the Road. However, main focus of my writing somehow changed during the stay in Estonia, especially after a trip to the island of Saaremaa or small bike excursions that followed afterwards, strolls through the countryside around Mooste or Polva. As it usually happens, we cannot foresee what will inspire us the most, which person or event will trigger the work we actually came there to do. So it happened that I found myself in a country so green and flat, so full of woods, lakes and meadows that it invited me to think about other topics, other points of interest, to look for a topic within the nature. Halfway through the residency I started writing an essay about the process of writing and how a poem, or any type of text, cannot be written by force, just because you need to do it. No matter how much I wanted to, no matter how much I felt bad for not having written down anything, this urge to write but being unable to, for many different personal reasons, was actually counterproductive up until the moment when I realized the mistake and started elaborating it in the essay.

In regards to general accommodation conditions I have been more than pleased in MOKS house. I have no problem sharing my living space with other people therefore I enjoyed the company of other residents in the house. Everything was always in order in regards to house rules, hygiene... I am also glad I had the opportunity to meet people from Mooste and surrounding villages during Folk Music Festival that took place during my stay and contributed greatly to making friends... I believe the residency in Mooste is perfect for artists such as writers, translators, musicians, painters, photographers... The scenery is so picturesque and nature so peaceful and calm that any of them could easily find an image to recreate through their own art expression. For me, April in Estonia was a valuable experience that helped me understand my own writing, my style, my discipline (or lack of it), my themes and motifs, in one word, myself.

Maja Klaric april

Open Studio

Maja Klaric and Martina Kartelo organizing Balkan cafe during Mooste Folk Music Festival | photo: John Grzinich


Maja Klaric


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Anna and Emma Fält- Vallpiga

For us MoKs was primary an opportunity to practice and work intensively together for a month and made us feel more committed to our work. Evelyn managed to gather very interesting group of artists together and made important encounters possible for us. Our up-to-date project is based on Scandinavian folk music tradition and live drawing, combining these two ways of expressing. Vallpiga is musically based on Swedish herding calls (kulning) and shepherd music tradition combined with a bit of Finnish folk singing traditions. Drawing is improvisatory representation of affection. Together we create a kind of topography of experience during the concert. In this working process we are contemplating themes like subjectivity and contact. Our work together is a type of sound and line laboratory, a living process for creating and studying spaces. At MoKs we started testing new ways of working by using a method from art therapy and it led us to do a lot of improvisation by combining voices, singing, drawing and movement. Studio space was big enough and had good supplies and acoustics. Shooting videos, making sketches and recording voices were all significant for our collaborative work to flourish and take new steps. Most important, we had a possibility just to have fun together. John Grzinich was kind enough to offer his help on recording our sound material at MoKS. This was the first time for us to get all the songs taken down by a professional. In these tracks you hear a wide variety of human voices from a small whisper to a very powerful singing therefore John was absolutely the right person for the work. Also, the house has great acoustics and the hall upstairs was a perfect place for recording all the Vallpiga tracks. Our working period at MoKs led us to new ways of working. It was reminding us once and again about the importance of doing everyday artistic practice. On the other hand, it develops your skills, but it also can lead you out of the predetermined strict form. It was also an opportunity for important discussions with the other artists and to be able to create future contacts. For us, who are working with sound and drawing Eve and John are just the right kind of people to collaborate with. They have good knowledge and interest on that kind of artistic practices.

Emma Fält drawing workshop | photo: John Grzinich


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During July 2013, MoKS and it's surroundings served as a Nearly every day began with morning wake up showers skinny dipping in the lake. My time at MoKS was spent creating, being, and listening. I came with the intention to further develop my project, Translation is Dialogue, with the hopes of having Mooste and the inhabitants of the town contribute and collaborate in unforeseen ways. My expectations were surpassed and I felt the warmth of the village and am thankful for everybody’s openness. The explorations I had with my paintings, words, and sounds culminated in my interactive exhibition Play Parts of a Whole. Here, I was able to install several activities based on my research within the realm of translation studies and storytelling. Many things were realized and poignant questions were raised in regards to how we hear language, choosing an artistic medium, and understanding modes of communication. During the viewing period I had many meaningful conversations with the gallery visitors that turned the installation into a sort of living piece and performance. Another advantage was being able to do a couple of Dear You art workshops with the young artists at Lasteaed Illikuku. This is a project I created and since March 2014, the school has been participating making and sharing art with other children abroad. As a means to connect experimental semiotics with phenomenology of landscape and sound, Riin Magnus, Eva Väljaots, Evelyn Fridolin, and I were able to form the group Kohalik : Local. Over the course of 2 days we recorded Mooste’s soundscapes and constructed a map of the region using our ears, recording devices, pens and paper. This happening is the initiation for further sound and semiotic experiments with many points of collaboration to come. Much more happened and even more was felt during my one month residency at MoKS. The stories and stringy webs that formed during this time are all essentially play parts of a whole and are for the future to interpret.

photo: Evelyn Grzinich


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I was initially overwhelmed by the generous amount of studio space that was allotted to me. Coming from New York City where I have very little space and little bits of time I had to go through a period of adjustment. During this time I found it comforting to have an activity that required little decision making such as crochet. Without putting too much pressure on myself to produce huge amounts of work because of my rare opportunity I began to take my epic evening walks into the surrounding rural areas which allow me time for reflection. Throughout my two months at MoKS I explored the tensions between utopia and dystopia. Many of my photographs that I took were juxtapositions between natural materials, hand made objects and synthetic industrially produced objects. It was my intention to compare these objects aesthetically in contrast to each other and also to see how each item could potentially represent some form of utopia/dystopia.

AUGUST Exhibition at MoK Light Blue Dream S Gallery,

The workshop "The Economies of Survival" was of great value to me. I was able to receive some constructive and critical feedback from the other artists who were present and to also see the various approaches of art making that were being explored from video interviews to fabricated histories and faux artifacts. This helped to expand my consciousness around creative output. I also really benefited from being able to interact with the local artisans, Roomet, the village blacksmith and clay workshop crew who helped me to learn a new technique of building, which was also integrated into my exhibit. I also felt very fortunate to have access to a film camera and the assistance from John to use it and to develop the b/w negatives in the sauna! Overall my residency experience was incredible. I enjoyed having a slower pace of life and to live in a way that felt more akin to my natural rhythms. I also liked that I had an opportunity to return to this place after my last residency, which was an exploration of "isolation" it was my intention to have this time to be more about "community" and I certainly felt that. My one recommendation is that the artists in residence are there for the same duration of time so that they can see each other's work progress and come to fruition and attend each other's final exhibitions- or perhaps collaborate on a group show together. This may be difficult as people have different commitments and times they are able to come for. I think 2-3 months is an ideal time span. The other thought I had was that it would be great if there was a joint residency that allowed artists to spend half of the time in Tartu or Tallinn and half the time in Mooste- as to give a broader perspective of Estonia and a balance of urban/rural living. Perhaps through the Print Workshop or the Y Gallerii in Tartu or an equivalent to Ptarmigan in Tallinn (now that it has relocated to Finland). It was also great to have visiting Estonian artists and scholars to come for studio visits.


Anna Maria Rockwell

MoKS center is definitely part of my artistic biography and I hope to return some day in the future for further collaborations. With tons of gratitude to both Evelyn and John for making this residency possible!


Nicola Casetta

This things both inspired me and provoked my artistic work. With the support of both MoKS and the project DE.MO./ Movin'Up by the Italian Ministry of Heritage and Cultural Activities (MiBAC) I was able to make my "gonesound" project during my one month residency in Estonia. MoKS provided a wonderful space with all of the equipment I needed plus the addition of the precious and excellent quality of time to focus on my project. Thanks to the valuable suggestions of John, the conversations with other artists in residence and the influx of artist guests coming through I was able to develop my project in unpredictable ways. I was surprised to see how intellectually stimulating such a rural place could be! The MoKS atmosphere inspired me and gave me the possibility to concentrate and reflect on my work in a very fruitful way. I was able to make several versions of my project, a text based research, and a visual survey that attempted to explore the visual impact of my work on the landscape by means of photography. Then inspired by the surroundings and by the soundscapes i discover during my daily walks, i did a series of spontaneous field recording that will be the seeds of further projects. I also made a composition based on the resonance frequencies of a silos nearby Moks using the sounds that i recorded and re-recorded inside the cylindrical building.

Playing back and recording over the Mooste lake | photo: Nicola Casetta



the quality of silence and calmness of the rural soundscape the rich variety of figure-ground sound the timbre of the sound reverberating through the forest the transparent light of the Estonian summer the warm colors of the sunset the absence of a boundary between day and night the approximation between art and life the rural becoming cultural and the urban just a noisy memory the unlimited timeless space of pure nature where to flounder is sweet to me

The root of my main work can be found in the context of social mobility and is an attempt to suggest a movement from the city to the countryside. MoKS was exactly what I was looking for: a place where artists are breaking the boundaries between art and the normative places where art is usually presented as well as pushing to develop new capacities for developing an artistic approach closer to a more vibrant and tolerant reality that allows for cross- contamination in a broader context. I embraced a process utilizing both technological and non-technological material especially those of natural origin, blending them together to various degrees. MoKS and Mooste presented the perfect combination for this inquiry. I felt that I was able to perceive a deep connection to a sort of "essentiality" of the world, stripping things down to what I saw as needed.


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Geoff's practice focuses on field recording, mapping and spatial diagrams. Projects begin with the field recording of a specific site and through mapping of the points of where sounds were recorded a three dimensional diagram is created. He is interested in overlaying contrasting sites through sound and diagram and the unique relationships that occur when sites are juxtaposed.

Mooste Overlay, performance of Geoff Robinson in collaboration with Krista, Raivo and Mihkel Sildoja | photo: John Grzinich




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Alice Pamuk


I worked during my residency in MoKS on a sound installation that deals with cinema soundtracks. It aims to explore the inside of short moments in films when one sound transforms into another one. MoKS environment was beneficial for the work; An optimal concentration was possible thanks to the beautiful studio and the nice and quiet surrounding; Inputs given by Mooste's history and the numerous talks with Evelyn and John Grzinich, Geoff Robinson and Kimmo Modig was valuable as well. I was provided with the equipment I needed for the project, speakers, mixer and an iMac, which allowed me to work. John Grzinich answered my technical questions regarding equalisation and recording. His precise answers helped me to define better the limits of the work. It was precious I could ask questions with a specialist. He shared info about his practice as a sound artist and as a teacher of sound design. His experience brought grist to my mill. Particularly questions about texture, is a sound pleasant to the ear if it is achieved by addition of numerous sounds to the point where they become unrecognisable or on the contrary by subtraction and cleaning? This doesn't call for a correct answer but is a trigger for ideas and images.


I am very grateful to MoKS AIR and to the Ministry of Culture of Estonia for having allowed me time to spend for one month, every day for my artistic work. I think it was very beneficial because I produced a piece and developed research that lead to new questions and to new projects.

photo: Alice Pamuk

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For a while I have been looking for an environment, what would support creative ativities of a freelancer but at the same time be away from usual routine (from regular rhythm). When I received a residency at MoKS in December I discovered even more that I am in a very special place... in a small settlement, away from city where one can find of course silence but also possibility to focus ones thoughts and ideas, find new creative acquaintances and various valuable enterprises what are busy right here at the center of the old manor complex. This all has inspired me a lot. Big thanks for resultful creative times at MoKS.


photo: John Grzinich


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NOT SO foreign objects in the first TEMPORARY narrow room, MOKS's office. ONE WEEK: single bed cork board postcards notes bill strange letter detailed LARGE drawing two sparse book shelves LARGE light fixtures desk radiator two chairs desk lamp red curtain trash can LARGE hanging stone works wooden chair. 2nd floor LARGE studio and bedroom, official studio. FOUR WEEKS: prominent wooden supporting pillars LARGE DESK rotating chair desk lamp futon couch LARGE table green chair small stereo off-white hammock kitchenette few mugs broken tea pot glass jugs containers thermometer dish rack metal platters two knives two sponges black indian tea cherry tea tourists pamphlets open container of glue brick wall four tilted sky windows two round light fixtures three LED spot lights ONE STEP DOWN ONE STEP UP door single bed part of a bed frame green blanket red pillow round window paper cut-out light fixture regular size window radiator round window pillow two single joined beds floral duvet white duvet two pillows small green night stand night stand light red and white rug empty book shelf pillar paper cut-out light fixture


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INTRODUCING TO THE SPACE the POLKA DOT coral and white sheet/s to find out later that the sheets used to be Evelyn's Mom's old curtains. A foreigner in disguise using a material from the area or close by to blend in not change a thing not add much not investigate cultural or social similarities or differences be there quietly have a lovely winter picnic


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These residencies were geared towards producing an exhibition at MoKS Gallery. 5 Invited Estonian artists received free studio and accommodation and applied themselves for additional support from Estonian Cultural Endowment. 2 Latvian Artists received studio and accommodation and artist-stipend 500â‚Ź to cover costs related to the production of an exhibition. photo: Evelyn Grzinich

Joonmeedia Joonmeedia in corpore Siiri Taimla and Tanel Rannala were invited to stay and produce a body of work at MoKS Gallery. The exhibition came together from a series of drawn stories and animations giving a glimpse about the (im)possibility of connecting roles of an artist and parent while being artists-in-residence. Joonmeedia mainly exhibits its work in different discursive events such as conferences, discussions, and talks. Joonmeedia has attended around fifty such events, interacting with the theme and public through simple quickly sketched drawings. Most often, the events deal with social issues such as education, well-being, the civic society, communication, etc.

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We came to MoKS without any specific plan to our exhibition. We had our children with us. We promised to Evelyn, creative operator of MoKS, that after two weeks in residency Joonmeedia will open an exhibition at MoKS gallery. As we got out from Tallinn to the nature over a long time period, we thought that finally we get a time to be out with children a lot. With the rest of time we thought to make a series of great art pieces. Nothing went as we planned. Almost. Things that started to happen with us in MoKS residency are presented in the exhibition through three different stories: "A story of true sharing", "Things my man can do in Mooste" and "You should multitask in artist residency".

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photo: John Grzinich

Kaia Otstak

exhibition production

1NO9V ArattisMtsootosteScPrhoimolars,ygaScllihogrolaphy workshop Kaia Otstak During her residency at MoKS Kaia worked on a series of paintings called Kilometers, what were later exhibited at V천ru town Gallery and at MoKS gallery. 21

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june Kadri Toom Process exhibition 'TENT' was Kadri Toom's experiment and site-specific installation which took place during her residency at MoKS in June 2014. The painting installation was constantly changing during the exhibition time.



I tried to experiment with different forms of painting to see how it opens up in space. The surroundings of Mooste gave a strong influence into the creating process. In the artwork you could recognize fragments from the local jungle and sky colors.

photo: Kadri Toom

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Sound objects, instruments and scores, playing instruments at the exhibition | photo: Evelyn Grzinich

Maksim Sh entelevs exhibition

Maksim Shentelevs and Jekabs Niemanis Latvian architect and sound artist Maksims Shentelevs and composer Jekabs Niemanis were invited to prepare an exhibition at MoKS Gallery. Various sound objects and instruments were built from found objects (such as old ski, water tank, rain pipe, bicycle rack, piece of penoplast, etc) and some basic electronic devices (such as piezo transducers, small motors and rotors) were added. Visitors of the gallery used the possibility to play with instruments with excitement and fun. Instruments were accompanied by graphic scores, representing musical ideas that have been arisen during meetings of sound art project Bernu Rits.

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Exchange reside with FKSE Budapncy est Exchange with FKSE (Studio of Young Artists) in Budapest and MoKS enabled 1 Estonian artist to work for 2 months at FKSE studio in Budapest and in return MoKS hosted 1 Hungarian artist. Travel costs and stipend of Hungarian artist were covered by Amadeus Foundation. In 2014 Estonian artist working in Budapest is Mari Volens. This exhange started in 2013. Making seedbombs. Kitty Gosztola workshop with Mooste School (Artists to Schools) | photo: John Grzinich


Kitti Gosztola


Perception Understanding and identification Roots Time You turn yourself inside out, accurately you start to investigate everything form it's base. Who are you, where do you come from? - is asked again and again. Everything and everyone is unknown, it encourages to examine yourself and your surroundings more intensively than usual. The perception is enhanced. Your conversations move on the sidelines of otherness and identity, looking for the similarities inside you, the common roots. You discuss about history, about the past what had been already behind you. The present is unstoppably flowing, powerful forces are shaping you and wash off everything that is unnecessary.


During the residency Kitti conceived drawing series called 'The Times we had', it depict abstract roots. It shows the decay and the growth at the same time. It's about circulation, the general circulation of life in the most elementary sense.

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l i c n u e o c g n s a t h r c a x e n a h v s ca iri Cavan Arts Council sent artists from Ireland on a twoweek work experience placement (funded by the EU Leonardo da Vinci (Lifelong Learning) Programme) to a number of European host partners during 2014. One of the partners was MoKS and we hosted 4 artists: Maria Kerin, Michael Holly, Alan Burns and Ross Cochrane. Artists were working and researching topics related to their practice. The artists also participated in AVAMAA 2014, a 2 day symposium concentrated on the topic of "Economies of Survival".

photo: John Grzinich


alumni ret rental resurn and idencies

MoKS offered for its former AIRs possibility for return visit (Mike Hentz) and residency rental facilities (1 artist).

Directing, organising, shaping...Mike Hentz workshop at P천lva High School (Artists to Schools) | photo: John Grzinich



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TIn 2014 MoKS Gallery exhibitions were mostly produced in place, ie artists were invited for a residency at MoKS to set up or to produce an exhibition. Altogether there was 7 exhibitions: Majahoidja, drawings by Ulla Saar; drawings and animations by Joonmeedia; Kilometers, paintings by Kaia Otstak; Tent, process- installation by Kadri Toom, Play parts of a whole, evolving space by Arlene Tucker; instruments and scores by Maksims Shentelevs and Jekabs Niemanis; Light Blue Dream- installation by Anna Maria Rockwell. The gallery is located in the restored cellar of MoKS and is open to the public several days per week and by appointment. There are two rooms and an entry foyer with brick walls and arched brick ceilings. MoKS attic has been also used for gallery purposes. The Gallery received approximately 700 visitors. MoKS Gallery programme was suported by Estonian Ministry of Culture (support for Galleries).

Moment from the opening of Light Blue Dream, exhibition by Anna Maria Rockwell at MoKS Gallery | photo: John Grzinich



educational activities MoKS continues its commitment to foster exchange of knowledge, skills and artistic practices through workshops by visiting artists. It has been shown that these kinds of workshop do not only benefit the participants but also the artists themselves by encouraging them to make their work accessable to audiences outside conventional artistic environments. Artists to Schools, resident artists workshops at MoKS and hosting workshops for Universities (Tartu Art College, Estonian Music Academy)

Vahram Muradyan illustration workshop at Vastse Kuuste School (Artists to Schools) | photo: Evelyn Grzinich

Artists to Schools is an initative what takes artists to schools, where they will show and discuss their works and give for youth some hands on practical excercise. The idea of an initiative is to bring into contact artists, art teachers and art students. Through that to encourage discussion about the role and possibilities of contemporary culture, to broaden the understanding about the work of an artist and spread playful-creative approach to everyday life. In 2014 altogether 12 visits were organised to 7 different schools. Participating artists were: Ulla Saar, John Grzinich, Arlene Tucker, Vahram Muradyan, Mike Hentz, Taavi Suisalu, Madis Katz, Argo Vals, Jaana Kokko, Kitti Gosztola, Basil AlZeri, Kaia Otstak. Participating schools were: V천nnu, P천lva and Kanepi High Schools, Vastse-Kuuste, Mooste and Krootuse Primary Schools and Ahja Preschool.

9.-14.06 Tartu Art College Sculpture department, 2nd year students summer practice on site-specific art. Each year students take a week to explore the idea of site-specific environmental sculture, starting off with structured exercises in materials, site-work, sensory perception, reflexive design and more. Then the students are allowed open work time to develop their own project either indiviually or as a collaborative group effort. The result is a map of the area with each artwork noted and then a guided tour to visit each work for a public discussion and critique. 23.-24.11 Estonian Music Academy, CoPeCo group. Listening and modes of response, workshop and discussions lead by John Grzinich 28

AVAMAA: Economes of Survival An intensive 2 day symposium at MoKS: August 6th-7th, 2014 Survival is a weighted term often associated with the most challenging aspects of preservation of life as a living organism. Economy is equally weighted with the complexity and extent to which it seems to dominate our lives. And while both terms are essentially linked as fundamental aspects of contemporary reality, we often overlook the significance of connecting the two. Yet, when we think about each more carefully and independent of each other, important questions come to the surface. How often are we really confronted with the biological notion of survival? How much, and in what way do we really contribute to or engage in an economy? In particular, how do such questions apply to us as artists and creatives, living often at the "fringes" of society, attempting to define our roles on our own terms? Although these are "big" questions, the focus of this symposium was not to provide answers so much as offer a frame in which we can move beyond the myths and modes of survival economics, to investigate constructive methods and approaches to art making and cultural production. In practical terms the symposium took the form of an open but moderated set of discussions and workshops, based on shared interests and ideas of the participants. Unconference sessions led by John W Fail and Tanel Rander.

photo: Evelyn Grzinich

Day 01 On the first day we opened with an introduction and sharing round. Besides stating our interests and background, each person elaborated on their personal relation to the topics of survival and economy. In many cases what emerged was stories of personal challenges in balancing the practicalities of living in a money based economy (as "survival") and the risks and ethics of seeking out alternative values and methods of exchange. We then divided into three groups and were asked to discuss and write down what we as artists can offer and what we require for our work and personal satisfaction. This was done under the assumption that our basic needs were met, to freely think beyond survival mode and explore alternatives. In some ways the offerings and requirements were the same, creating blurry boundaries, emphasizing the reciprocal 'linked' relationships between the two. Day 02 on the next page




Day 01 on the previous page

Day 02 The second day was based on a structure of open sharing sessions, distributed across all the participants. The idea was for each person to offer a 15 minutes 'instant workshop'. The topics and forms were left open. In the end the following 12 workshops were made, highlighting the diverse interests of the group and the value of sharing ideas horizontally: 1. Kayt - Public chalk drawing 2. Maria - Exercising awareness and presence 3. Anna - How to make butter and buttermilk 4. Alan - Exploring the 'creative uses' theory 5. John G - One string communication 6. Michael - Doubt, objects+stories, ephemera+artifacts 7. Germain - Honing logs, traditional techniques 8. Ross - Sense lab, finding your way 9. John F - Musical communication 10. Evelyn - Multi-lingual regilaul 11. Nicola - Finding group balance 12. Tanel - Art and political intervention

photo: John Grzinich




MoKS meetings is a series of events, introducing MoKS AIRs to art audiences in Tartu. The event is lead by an invited moderator, usually someone local, whose activity or field of research links with invited artist. MoKS meetings center point is a moderated talk, but also includes performances and screenings. Meetings took place in various locations around Tartu (Y- Gallery, Tartu Artists House, Arhiiv). In 2014 altogether 6 meetings took place, meetings were funded by Tartu City. Participating artists were Kimmo Modig, Kaspars Lielgalvis, Edd Schouten, Platons Buravickis, Laura Prikule, Krišjanis Zelgis, , Kaspar Aus, Jaana Kokko, Basil AlZeri, Emma and Anna Fält, Alice Pamuk, Geoff Robinson. Participating moderators were Tanel Rander, Indrek Grigor, Kaisa Eiche, Rebeka Põldsam, Kaia Otstak, John Grzinich. ,

Presentation of Black Holes workshop at Tartu Artists House (MoKS meetings) | photo: John Grzinich


Community events MoKS is open for the various community events. Cine MoKS Movie nights in conjunctions with Kodanikukino and the FoodClub are regular gatherings for people from and around Mooste. The Cine MoKS programme was coordinated by Aiki Hainsoo. Altogether 6 movie nights in 2014. FoodClub aims to broaden our understanding of food through local and international encounters. Questions like how do we eat, what do we eat, how do we make it, help share knowledge around food and to experiment and enjoy both preparation and eating. Every food club is organised by different host, be it local citizens, MoKS AIRs or invited special guests. 5 FoodClubs gathered in 2014. From March 10th till May 30th MoKS offered its basement for a mall experiment- namely local community has lacked place, where youngsters can meet and spend their time as they want. Several parents from the community and NGO Utsitajad took the initiative, MoKS offered a temporary space and so the Mooste Youth Center was born. As a result of that we had also a youth-worker Maarja Rand in residence, who helped to start-up the Youth Center. We strongly hope that Youth Center will find permanent place and its activities be supported by community. Mushroaming in FoodClub with Aivar Rumvolt (on left) | photo: Evelyn Grzinich


photo: John Grzinich

budget Income

Self-generated income


Estonian Cultural Endowment


The Gambling Tax Council


Estonian Ministry of Culture


Kulturkontakt Nord


Tartu City





Materials, tools


Premises (water, electricity, heating, waste etc)


Transport costs


Travels abroad


Honorariums and stipends


Salaries (includeding taxes)


Administrative and maintenance costs


Project costs


Other costs



43519 6020


41626 10000€






1.-15.02 AIR: Joonmeedia (Tanel Rannala, Siiri Taimla) / 20/ and Andrew Gryf Paterson / 5/ 14.-28.02 Gallery: Joonmeedia at MoKS, exhibition by Joonmeedia / 20/ 16.-23.02 AIR: Ulla Saar / 9/

2.12.2013-5.01.2014 Gallery: Housekeeper, exhibition by Ulla Saar / 9/


August 5.-19.08 AIR: Maria Kerin, Michael Holly, Alan Burns, Ross Cochrane / 25/ 13.-14.08 Avamaa, Economies of Survival / 28, 29/ 15.-24.08 Gallery: Light Blue Dream, installation by Anna Maria Rockwell / 14/ 18.08-30.09 AIR: Geoff Robinson / 16/

1.07-31.08 AIR: Anna Maria Rockwell / 14/ 2.07-30.08 Gallery: Sound objects, instruments and scores by Maksims Shentelevs and Jekabs Niemanis / 23/ 4.-31.07 AIR: Nicola Casetta / 15/ 5.-14.07 Gallery: Play parts of a whole evolving space by Arlene Tucker / 13/ 15.-29.07 AIR: Ari Taskinen 16.07 Performance Collaboration #14 (excerpt) Jasmin Schaitl and William "Bilwa" Costa, Mooste


photo: John Grzinich

October 6.-26.10 AIR Totaltobze: Kaspars Lielgalvis, Edd Schouten, Platons Buravickis, Laura Prikule, - Zelgis, Krišjanis , Kaspar Aus / 7/ 10.10-11.11 Gallery, Kilometers, paintings by Kaia Otstak / 21/ 15.10 MoKS meetings, Black Holes, Tartu Kunstimaja / 7/


1.-30.09 AIR: Kimmo Modig / 6/ , Alice Pamuk / 17/ 14.09 FoodClub: Mushroaming / 32/ 17.09 MoKS meetings, Contextual Sound. Arhiiv, Tartu 28.09 Mooste Overlay, performance by Geoff Robinson in collabortion with Krista, Mihkel and Raivo Sildoja, Mooste Culture House and warehouse / 16/

timeline June 1.-14.06 AIR: Kadri Toom / 22/ 1.-30.06 AIR: Kaia Otstak / 21/ , Emma and Anna Fält / 12/ 3. and 10.06 Drawing workshops by Emma Fält Let's draw together / 12/ 7.-30.06 Gallery: Tent, process exhibition by Kadri Toom / 22/ 15.06- 15.07 AIR: Arlene Tucker / 13/ 17.06 Sound and drawing performance by Vallpiga, Genialistide club, Tartu / 12/ 25.06 MoKS meetings, Vallpiga / 12/ and Kaia Otstak / 21/ , Arhiiv, Tartu 26.-27.06 MoKS Open Studios 17.06 and 20.06 Dear You, Arlene Tucker workshops with Ahja preschool / 13/ 26.-29.06 AIR: Maksims Shentelevs and Jekabs Niemanis / 21/ 29.06 After the milkman, sound performance by Maksims Shentelevs and Jekabs Niemanis at MoKS Gallery / 21/

April 8.04-30.05 7.04-7.05 11.04 19.04 23.04

AIR: Martina Kartelo / 10/ AIR Maja Klaric / 11/ Artists to Schools, drawing superheroes, workshop by Ulla Saar at Võnnu High School/ 9/ Dinner with Mooste and Malminkartano communities by Andrew Gryf Paterson / 5/ Artists to Schools, photography workshop by John Grzinich at Vastse-Kuuste School

May 1.05 FoodClub, Food in Literature, Tasting the plot, Mooste 28.-31.05 Martina Kartelo performance Artist is IN, Mooste / 10/ 30.05 Experiment - performance by Martina Kartelo and Mooste Folk Music School, Welcome to Mooste Cat Museum! Mooste mill theatre / 10/


November 6.-14.11 AIR: Mike Hentz / 26/ 11.11 Artists to Schools, Mike Hentz workshop at Põlva High School / 26/ 12.11 MoKS meetings: Mike Hentz, Atmospheric reflections, Y gallery, Tartu / 26/ 14.11-11.12 AIR: Jaana Kokko / 8/ 17.11 MoKS meetings, Jaana Kokko meets Rebeka Põldsam, Y-gallery, Tartu / 8/ 19.11 Artists to Schools, Kaia Otstak calligraphy workshop at Mooste Primary School / 21/ 27.11-31.12 AIR: Kitti Gosztola / 24/

1.12.2014-31.01.2015 AIR: Argo Vals / 18/ 3.12.2014-13.01.2015 AIR: Basil AlZeri / 19/ 3.12 Artists to Schools, Argo Vals workshop and presentation at Vastse-Kuuste School / 18/ 4.12 Artists to Schools, Jaana Kokko, workshop 'Interview as an artistic method', Kanepi High School / 8/ 4.12 Artists to Schools, Kitti Gosztola workshop and artist talk at Mooste Preschool / 24/ 9.12 MoKS meetings, Basil AlZeri meets Indrek Grigor, Tartu Kunstimaja, Tartu / 19/ 11.12. Artists to Schools, Kitti Gosztola workshop and artist talk at Mooste Preschool / 24/ 18.12. Artists to Schools, Basil ALZeri workshop A mix of Fruit and Vegetables, Super Mix Media, Põlva High School / 22/ 18.12 Argo Vals concert at MoKS / 18/


credits In 2014 MoKS was supported by

Organiser .. Mooste KülalisStuudio MTU Producers Evelyn Grzinich (AIR, Gallery, Artists to Schools, MoKS meetings, Foodclub) John Grzinich (Avamaa- Economies of Survival, AIR, Workshops) Design and Layout: Agnieszka Pokrywka Big thanks for all the artists and Maarja Rand, Madis Masing, Mari Käige, Roomet Allese, Iris Allese, Aiki Hainsoo, Kayt Grzinich, Marko Kikas, Mikk .. Luht, Saviukumaja OU, John W. Fail, Agnieszka Pokrywka, Ptarmigan Tallinn, Tanel Rander, Kaisa Eiche, Y-gallery, Indrek Grigor, Tartu Kunstimaja, Krista ja Raivo Sildoja, Mooste Rahvamuusikakool, Rebeka Põldsam, Vastse.. Kuuste Põhikool, Põlva Uhisgümnaasium, Krootuse Põhikool, Kanepi Keskkool, Võnnu Keskkool, Mooste Põhikool. Tartu Art College 2nd year sculpture students at the summer practice on site-specific art. Somewhere out there | photo: John Grzinich


SK M Midsummer night land- and lightscapes | photo: Kaia Otstak

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